Hood review - Harry Hoods in Review (criminally long)

review submisions to me at dws@www.phish.net or dws@gadiel.com

Date: Sat, 06 May 2000 14:14:45 -0700
From: Charles Dirksen cdirksen@earthlink.net
To: rmp@archive.phish.net
Subject: Harry Hoods in Review (criminally long)
I posted this about four years ago, and figured I would repost it because I
don't know whether it is still accessible online at all... and I just
listened to the first Harry (10/30/85) again, and thought about this.  Some
of you might find it amusing... especially those of you who don't trade for
pre93 tapes.   I added some pgh breaks to make it more readable, but
otherwise, didn't change it, even though some of the things I say below are
even more embarassing to me now than they were four years ago... ;-)
The only thing I'd add to the following is that if you haven't heard the
11/12/94 Harry Hood, you haven't heard one of the siiiiickest versions,
IMO.  Trey really goes to town in that one.  I have never reviewed it and
don't review it below, but I thought I would mention it.  (fwiw, I wrote
all of the following before I'd heard any versions of Harry from 1996 or so
to the present.. so if you think there's a version that really moves you
from the last few years, e.g., like the Cypress version, or the 12/6/96
Harry, I hope you take the time to thoughtfully post your two cents on it
and cc Dan Schar, who handles the reviews section of the Phish.net,
The recent Hood comments have been very enjoyable... this song is
**JOY MUSINCARNATE** .. 'tis the musical manifestation of JOY, in my
opinion.  I can't get enough of Hood.
I hope everyone keeps posting comments, and that the following
encourages discussion.  I was asked several times by various people,
when I started reviewing "Tweezer" long ago, why I didn't pick a song
that more people REALLY liked... like Hood, for example.  My response
was that of the outrageous number of Hoods that I'd heard, I could
only think of maybe one or two that I actually didn't really like.
Hood is just THAT F*CKING GOOD.  With Tweezer and MikeS, and even
Antelope, Stash, Bowie, and YEM, there are versions that I like
waaaaaaaay more than others.  I thought that I really couldn't say
this about Hood.
Upon analyzing some Hoods in my collection (I have about 60 versions
of Hood, out of about 650 hours of total Phish), however, I realized
that I thought wrong.  Analysis could be attempted, even though I just
LOVED HOOD all around.  As the following probably demonstrates, I can
With this said, I recently checked out some of the versions that have
been brought up recently, and several that haven't.  I needed a break
from Civil Procedure... and a break in general (as an aside, if you
are planning to go to law school, plan on doing legal related work
every single day for at least 6-10 hours in your first year... no
I consciously didn't review too many versions, in order that people
fill in the blanks (especially with versions from the summer.. I have
them all, but I'd rather other people took the time to review them,
LIKE YOU, FOR EXAMPLE.. that's right, just don't watch tv for a few
minutes.. ;).  I hope you take the 15 minutes required to time &
review a version here and there and share your thoughts (particularly
timings) with everyone.. don't be concerned about flamehenge ensuing.
If you care too much about what other people think, you aren't
thinking enough on your own.
Here's a quick summary of what I've reviewed.  The first timing is
approximately where the jam segment begins (after the "Thank you Mr.
Hoooooood" lyric), and the second timing is the actual final time of
the version.
10/30/85        07:55,  10:45
10/15/86        05:23,  09:00
08/21/87        07:45,  13:55
05/28/89        05:24,  12:40
04/22/90        07:18,  13:19
11/04/90        05:40,  10:33
08/03/91        06:20,  11:48 (approx)
03/20/92        06:43,  12:08
04/18/92        07:30,  14:05 (Linus & Lucy)
12/28/93        06:00,  11:40
12/31/93        05:30,  13:10 (approx)
10/23/94        05:43,  14:47 (A Live One version)
07/01/95        05:32,  14:26
10/07/95        05:05,  16:03 (no final verse, but notice how long the jam
is.. ;)
10/30/85 Hunt's Burlington, VT
Contains an intro from Trey in the opening reggae-ish/lyrics segment,
which I will transcribe: "Welcome to Hunt's everybody.  We hope you
are ready to dance.  We're Phish [laugh].  We're gonna start right out
now [pause] with a song that you have not heard yet.  And this one is
a story of a man who lives directly across the street from us right
now: Harry Hood.  Now this is a story of Harry and his vacation across
the globe [pause] to the sunny beaches of Greece.  And it all starts
as our friend Brian places a carton of Hood milk into the refrigerator
door, and closes the door [pause] and as he closes the door and walks
away, he asks himself a question [pause]:  HARRY, HARRY, WHERE DO YOU
GO WHEN THE LIGHTS GO OUT... [repeat 2 times, then] Harry, Harry,
where... do... you... goooooooooo..."  YES!!! And in this manner,
Harry was born.
The jamming in this opening segment is a loose and somewhat sloppy
version of what you usually hear in Harry's opening segment even
today.  I dare say that there is no particularly impressive jamming,
in light of what Phish is capable of nowadays (as you'd expect). Still
fun to listen to this 'ole scratchy, hissy thang.  The jamming just
prior to 'Thank you Mr Minor', however, in the opening segment is
quite enthralling;  very raucous and late-70s rock-ish. The jam
segment doesn't begin, given the long intro, until about 7:55!  This
jam can only bring a smile to my face.. I can just see them all --
YOUNG -- on stage jamming this out...  If they only could foresee what
Harry would become, via their own growth as musicians!! It is
honestly, even on this scratchy hissy aud, very harmonious and
enchanting.  Trey really does noodle away with spirit, and the
accompaniment from the others is gripping as well. If I'd been at
Hunt's at that time and heard this, I would have been pretty fucking
excited for these guys.
The jam segment, as you might expect, doesn't last long, although
there's a few added "Feel Good About Hood" lines at the end (not a bad
close to the first version!).  Ends at 10:45.. got good applause.
"We're going to get sponsored if it kills us.  One day they'll pay us
to do that I know it."  I think Mike says this after the version, but
I can't tell... I don't think Hood is paying them (which is, indeed, a
shame.. the pigs!  Phish should sue THEM! ;^).
10/15/86 Hunt's, Burlington, VT
This appears to be Paul's first show (some tapes label this as
4/20/87, which Shelly thinks is probably wrong).  The Harry leaps
instantly out of Have Mercy, but doesn't segue, unfortunately.  BTW,
the opening drums that Fish plays to start Harry off are different in
these old versions than they are today (same idea, though.. no big
deal! ;).  The opening segment sounds a hell of a lot more refined
than The First Harry, but is certainly not as perky and confident as
the versions of today (for obvious reasons). The "Thank you Mr. Minor"
lines crack me up in this version, though, because they are a far cry
from the evil lines they've been recently.
The jam segment comes in around 5:23 or so, and contains heavy jamming
from everyone right off the bat (not the usual Trey-led approach).
The beat kind of picks up a bit after a min or so, as well, which is
unusual.  There is a build in here, but nothing even close to the
builds of the 90s... too rushed and quick, with fiery licks spat out,
almost, from Trey (and everyone, really).  Very fast jam segment..
Fish definitely picks up the beat dramatically. By 7:30 they are
really wailing away -- all of them.  I'll be surprised if this version
makes it much past the 10 min point at this rate.  Trey's jamming is
really impressive, though...  It is not at all complex, as he'd be the
first to admit (he probably laughs at this stuff, now!), but it is
obviously soul-driven. The Feel Good about Hood lines come in around
8:30, after the jam lost a bit of steam (not a good climax).  Ends at
9 minutes.
8/21/87 Ian McLean's Farm, Hebron, NY
I noticed that before this Hood, one of the voices heard is a guy who
was also present on the 5/28/89 Ian's show tapes.. rather loud and
easily discernable. I wonder if this is Ian himself.. ;) Harry begins
very slowly and mellowly, in typically reggae-ish fashion.  Marley is
barking a bit in this opening segment, and you can hear talking (this
is definitely a SBD, but the mics simply pick up a lot of the ambient
sounds).  There's unfortunately a lot of muffled rumbling sounds from
the Bass..   Trey starts a ska sort of groove just before the first
HARRY line.  This bass is terrible.. agh.  It is all fudgy.. the
reverb is painful.  This SBD is otherwise really good.  Oh well.
Marley goes OFF barking on the "Where do you goooo" line.. quite
The jam segment starts at about 7:45.. really nice, long drawn out
jamming in this great opening segment.  If only the bass wasn't in a
fucking tube. Agh. Mike is jamming away, too, in the opening of the
jam, along with Trey.  Page is using some weird bells-effect on the
keyboard (sounds really chimey and cheesy.. like a music-box).  Marley
barks a bit here and there, not really in time, unfortunately. She'll
get it one of these days.  Indeed, it starts distracting one from
Trey's very melodious noodling. SHUT UP YA DAMN MUTT!!! ;)  Sorry I
couldn't help that..  (I'm almost certain Trey won't see this, so I
have nothing to fear.. as punishment he'll play Rift at every NYE run
show.. ;).  Ooooooooo .. Trey really starts wailing around 11:20 or
so.. noodling in fine form.  Because of the bass reverb, it is hard to
clearly MAKE out Mike, but judging from the reverb tones, he is
wailing, too.  Page is just kinda tooling along, still using that
cheesy chimey effect (Fish is doing the same sort of drumming that
he's still known for.. strong, tight, jazzy accompaniment with a BITE
here and there).
There was a very solid build in this Hood, btw, much moreso than the
two earlier versions reviewed above.  This ending is also Very
Serious, with Trey strumming away.  Ends at 13:55. (I'd also like to
mention that all the talking in the background stopped when the jam
segment started smoking (which was cool!) Also, Fish goes "That's why
I'm in the band" after this version.. then someone goes 'SSSSSSsss'
into the mic (probably Mike), and then Trey says "That's why we don't
give Fish the microphone." Then someone says, that's right, just says,
but doesn't yell, "Harpua" ... then Trey goes "This one starts with
the word 'Swift.'" Then Trey goes 'SWIFFT' and Clod starts (the early
form of Fluffhead.. it is basically the opening segment of Fluffhead,
before the "Fluffhead" lines would ordinarily be sung, and before
Bundle of Joy ... this is really jammed out, btw, and sounds great..
the bass reverb ain't so bad here.. Marley starts barking again.. BAD
5/28/89 Ian's Farm, Hebron, NY
You guys can talk about this show being in December all you want given
the several yuletide references, but I just don't buy it. Too many
copies have this date and have had it for many years, and, well, it
would be impressive if such a mislabeling has lasted so long. I don't
know.  Also, New York in late December would be damn cold, for
christ's sake, and this show really has an outdoor feel to it (as does
8/21/87).  I think it had to have been outdoors given that Trey says
he hears Marley squawking in the truck (I can't imagine him being able
to hear this while playing a show indoors!). I do know, however, that
the third set that Nick NOT PAUL sent me is, indeed, clearly part of
the show (I take back anything I ever might have said implying
Trey, before the Hood, says "We'd like to thank you for coming this
evening to the party. We'd like to say that the stars in the sky are
very bright [Sanity reference]. Merry Christmas. Happy New year. And
we hope that your mother enjoys your t-shirt."  Mike, I think, goes
"Who the heck is she?"  Then Trey says "Can you go let Marley out of
the truck.. Marley come here!" (then you can hear Trey leave the stage
and go towards Marley.. and within literally about 10 seconds or less
you can hear him baby-talking to Marley about Marley being stuck in
the truck "Aw poor Marley..").
The opening of this version is fairly straightforward, compared with
versions from many years (although the Thank You Mr. Minor lines are
noticeably less perky and more evil than in '87..). Jam segment starts
at 5:24, with Mike/Trey lightly singing Mr Minor in the opening of the
jam segment. Page is lightly chording away, and Mike noodles a bit,
before Trey comes in at just after 6 minutes. Trey practically plays
the Linus and Lucy theme (along with Page), but they hold back.  Mike
is playing lead bass (it is good to hear him so clearly on this tape..
thanks Nick!).
This is a good mix, too, in general.  I can only assume Paul was on
the SBD for this.  Trey's jamming is very perky and staccato'ed moreso
than usual.  Very crisp, clean little prickly notes...  a charming
little version. The "build" isn't really there (I mean, it is 'there'
as much as the '87 version's is).  They build, but not in nearly as
dramatic a fashion as they do nowadays.  It is nonetheless a
delightful version (although Trey hits an awry note at one point..
DOH!).  Trey really does come close to playing the Linus and Lucy
theme in a huge way.. I wonder whether he is deliberately dancing
around it.. I don't think so).  It is a strong noodlin' affair, this
Hood jam, but no more awe-inspiring than the typical Hood.  I still
like this show-closin' version.  I wish they closed a show with Hood
more often, but, then again, it makes it that much more special when
they DO do it, of course.  Ends at 12:40.  "Thank you very much. And
we'll see you next Christmas... Ok. So anyway. The cops are here...
[Trey talks to some guy offstage, then says into the mic] Don't worry
about it [laughs]."   Soon a lot of people start howling at Marley,
setting her off.. AGAIN. ;)  It is really fun to hear these old tapes..
4/22/90 Colorado College, Colorado Springs, CO
Ooooo is this a clean digital board! Sounds like it was remixed (if
this is mixed for the venue, it doesn't sound like it!).  This is a
great Harry opening segment.. contains a spacey sustain section led by
Trey, with some ultra-funky bass effects from Mike.  Oooooo this is
niiice! ;) ;) ;) THANK YOU MR LANGUEDOC!! ;) Very crispy.  Jam segment
begins at about 7:18.  Trey starts out the jam quietly noodlin around
the Harry theme, at first.  Very gently.. mm.. this is so precious.
**JOY**.  Listen to this again, those of you out there raving about
recent versions. Mmmmm.. this is soooo pretty.  I'm sure the quality
has a lot to do with it, but still..
Lots of gentle picking from Trey, with glorious chords and quaint
notes in accompaniment from Page. Mike is fairly reserved for the most
part, as is Fish, as usual, but they are still beautifully providing a
foundation for this gorgeous Hood.  Fish does some fun stuff with the
ride, too, at just after 10 mins.  Trey kinda goes off-key at one
point, which ain't too pretty, but he quickly changes direction with
some majestic jams!  DAMN IS THIS HOT!  Wow!  A really fine build and
a great close.. ends at 13:19.
11/4/90 Fort Ram, Fort Collins, CO
Another crispy pure digital board.. get this show at all costs, folks,
if only for the Tube, Harry, Funky Bitch (all in a row) in the FIRST
set!  Typically laid-back opening, with the funky-bass from Mike, and
cute little short notes from Trey (and cymbal twings and twangs from
Fish... typical Page keys..).  The Harry opening verse comes quickly,
it seems.
The jam segment starts around 5:40 or so.. I was enchanted by the
thank you mr minors, though, and spaced, so it probably starts
somewhere AROUND 5:40.  This jam is extraordinarily akin to the 4/22
version and numerous others, in that Trey comes right out softly
noodlin away, and starts skying and soaring rather quickly (a lot of
the more recent Hoods have him really working it up quietly and
cautiously before he starts jamming away).  It is, like 4/22, a very
mesmerizing and sweet version, with great stuff from Mike Page and
Henrietta in support.  There's practically a Dave's Energy Guide-like
jam from Trey around 8:20 (but not really... ;).  This is probably
what I'd call the average Hood, and I'm saying this in all sincerity.
It is a great fucking sweet kickass version, but dammit, most Hoods
ARE LIKE THIS ONE, although maybe about 30-40 seconds longer, at
least.. ;).  Really. Trey's jamming at the end is sick, but not as
sick as, say, 12/31/93.  Still great stuff.  Damn I love this song!
Not that long a version, though, for damn sure.  Climaxes too often
too quickly. Ends at 10:33.
8/3/91 Amy's Farm, Auburn, ME
Oh, to have been at this show!  A friend of mine heard about it and
told me about it, but no, I didn't go.  What a dumbass I was.  I had
"to work."  Like that was ever more important! ;^[  Phish won't be
around forever, folks.. see 'em while ya can.  This Harry closed a
great show (it was the second encore, after some scary DOL "tunes" ...
I'm convinced he's just an entertainer, like Fishman.. he couldn't
possibly be singing stuff like this seriously.. or, well, I guess he's
serious about joking..).  The first seconds of this Hood are cut on my
copy (the opening drums from Fish).  Very Police-Message in a
Bottle-esque as usual.  Some spacey sustain from Trey, some piano
noodlin from Page, some massive funky stuff from Mike, and some very
reggae-ish, yet somewhat jazzy and chaotic stuff from Fish.  A great
opening segment, in other words.  It ain't boring..!
When they start singing Harry, they sound a bit tired.. ;) Long
f*cking day!! AGH!!! I DIDN'T Gooooooooo!!!!! Oh well.  I have a SBD-7
of this show, which doesn't sound nearly as hissy as it should (was an
upgrade for me, too, when I got it many moons ago).  This opening
segment is fine, really, but you can tell, given the few somewhat
slip-ups in the pre-ThankYouMrMinor segment, that they were pretty
damn tired for this.. but they were still giving it one hell of an
effort!  I would think it would sound much much MUCH worse.. but it is
actually quite good.  Jam segment comes in around 6:20 or so (not
precisely).  Trey doesn't start this with the usual genteel noodlin..
he kinda funkily grooves first.. and then begins the quaint toolin
around.  He almost teases the Linus and Lucy theme in here, perhaps
unconsciously. ALMOST (he doesn't play it.. don't get excited.. that
version is 4/18/92, reviewed below).  Yet another beautiful jam
segment. I'll say no more, and leave it to someone more inspired.
Damn.  I'm speechless.  If this is the boys when they are tired..
christ.  Ends at 11:48-ish.
3/20/92 Broome Cty Arena, BinghamP;^)#$%@@PPton, NY
Does anyone have a SBD copy of this show which has Harry in its proper
place in the setlist and on SBD? My copy of this has the Harry as AUD
filler at the end of Side B of set two (it is supposed to be in
between Penn and Terrapin!).  I'd be up to get a better copy of this
set... This Hood has a very peculiar opening segment.  It is very
spacey and eerie in parts, with some off-key spooky sustain from Page
and Trey and Mike.. a genuinely queer opening segment. Leaps and
bounds more awry than all of the other opening segments reviewed
herein. The first verse doesn't come until just after 3 minutes.  The
jam segment doesn't start until 6:43 or so.  The interplay between
Page and Trey is quite niiiice, with Trey noodling intensely (he hits
quite a lot of notes in this version!!).  Very serious Hood.. I wish
my copy of this version was more tolerable, though. It is remarkably
shitty.  The final Feel Good About Hood lines come in about 11:40 or
so... ends at 12:08.  This is really well-jammed, but not nearly as
dramatic, in my opinion, as a lot of the 1994-5 versions, in which the
jam segment is drawn way out (as opposed to the opening segment).
4/18/92  Stanford, Palo Alto, CA
Trey's jamming in this version is as similar to 3/20/92 as his jamming
on 12/31 is to 12/28/93. Imagine that. ;)  The opening segment seems
slower and more laid back than 3/20/92, with light noodlin from
everyone (this came after an unduly filling Dinner).  Very laid back
opening, with some of the exact same spacey sustain stuff from Trey as
he did on 3/20 (but Page and Mike continue to jam).  This opening
segment is also drawn out, in this way, as 3/20's was.  This even
moreso, with the first Harry verse not coming in until 3:32.  I don't
think they've drawn out the Harry opening this much in 1995, but I'm
not sure.
The jam segment doesn't come in until 7:30!! Mike sings Hood a little
longer at the beginning of this jam segment.  This is much later a
time to start the jam segment than the 1994-5 versions reviewed below
(but this jam segment is much shorter than 1994-5 versions, in
general).  This jam segment proceeds with Trey noodlin in typical trey
fashion, until about 8:45, when he starts to faintly start teasing
what could become a Linus & Lucy (PEANUTS) jam.  He doesn't actually
tease the True Linus & Lucy Theme until 9:50, but he comes damn close
in the preceding few minutes.  Damn this is soooooo f*cking pretty.
Mike and Page start accompanying him on this theme, too. ;)  Very
cool. Wow.  I know you were at this show, DownerMan (Shelly, I guess
you were probably there, too, huh?)...  This is such a groovy little
Linus and Lucy jam until 10:50 or so, when Trey starts jamming in
typical Hood-like fashion.  Just soaring rifts that ascend and descend
and carry you along... spectacular stuff.  I like this version
enormously more than 3/20/92.  The final jamming is very overawing...
there is no question that I prefer this version to 12/31 and even
12/28.  It is just more melodious... 12/31 jams more fiercely,
perhaps, but doesn't have quite the orchestral and triumphant feel of
this version.  Ends at 14:05.  BTW, HYHU starts immediately, and drags
on and on until Fish, clearly annoyed,  says "I think we get it!" ;)
He apologizes.. no doubt with a smile..
12/28/93 Bender Arena, AU, Washington, DC
Very reggae-ish moreso than usual in the drawn out opening segment,
with a Simpsons signal, and with some somewhat shaky notes from Trey
(not as tight as he usually is in the opening). Jam segment doesn't
come in until just after 6 minutes.  Trey immediately starts noodling
beautifully, with some fantastic accompaniment from Page.  The climb
is very quick and serious... Trey wails majestically, much as he does
in the 12/31/93 version, throughout this jam segment.  The problem is,
though, that it peaks too soon, imo.  Final feel good about Hood verse
comes in at 11:18, and the version ends at 11:40.  A good Hood, but
nothing profound, in my opinion, especially in light of other versions
herein reviewed. This Hood seemed RUSHED to me.  Also, for them to
play Highway immediately after this was like getting slapped in the
face... I was there, and let me tell you, IT HURT! ;) but I got over
12/31/93 Worcester Centrum, Worcester, MA
It is true.  Trey definitely hosed everyone off in this version!  The
wailing is PROFOUND for Harry. This version really lacks the same
dramatic build that most Harry's have, but it makes up for it with an
outrageously awesome JAM.  The very VERY beginning of my copy is cut,
but assuming I lost about ten seconds (which sounds about right), the
jam segment begins at about 5:30, and the whole thing ends around
13:10. Immediately after the jam segment begins, instead of getting
really soft and quiet, Trey just breaks into Auld Lang Syne and it is
really all uphill from this already high uphill point!  He fiercely
jams in this version, definitely moreso than usual for 1994-5 versions
(in which he takes a more stealthy, agent provocateur approach to the
10/23/94 The Band Shell, U. Fl, Gainesville, Fl
Free Hood!  (this is the A LIVE ONE version)  Great opening segment,
with some amazing shit from EVERY band member.. just a great all
around opening.  Some weird effects from Trey, some unusually upbeat
jamming from Fishman.. somewhat funky stuff from Mike and Page.  Jam
segment starts at 5:43.  Damn.  I'm not going to describe this amazing
version.  Listen to the CD (oh and btw, if you haven't bought the CD
yet, get it immediately... or, if you don't plan to get it, preferring
to milk Phish by simply acquiring publicly available tapes, THEN F*CK
SHOT YOU MOOCHIN BASTARD!!)  Sorry about that.. I won't say anything
about this version except that the jam quiets down after a climax at
around 11:45 or so.. which is where many a version has ordinarily
ended with a plunge into the final Feel Good lines .. but this one
THERE!!!!!  Incredible version.  Truly magnificent... a great
composition. Ends at 14:47.  I'm not sure whether I like this one more
than 7/1/95.. tough call.
7/1/95 Great Woods, Mansfield, MA
Had a great time at this show (HI CHRISTIAN!).. mail order gave me 4th
row inside AISLE (I love the aisle!) straight back from Fish..
niiiice.  Great sound.  Anyway, Trey uses the Leslie watery-effect in
the opening segment of this Hood (unlike in previous years.. Leslie is
a relatively new device for him). This whole opening bit seems more
laid back and harmonious than the 12/31/93 version above;  12/31/93
was more raw and fiery -- greater intensity.  This version is more
orchestral and grand.  This jam segment also starts at about 5:32 or
so.  Page is UNBELIEVABLY PROMINENT in this opening.  I completely
forgot about this.  Holy shit.  Page just jams gorgeously right
alongside Trey for this (Mike just plucks in the background, and Fish
glides on the ride with the light hi-hat tappin'... as usual for
Hood). This is incredible, folks.  The interplay between Page and Trey
in this opening.  Wow.  Trey doesn't break out until about 7:24 or so
(Page then does the usual light chordwork.. what he ordinarily would
begin doing at the start of the jam segment, and continue for the
whole thing).
Trey's jamming in here is very wavy and genteel.  He doesn't jam at
all as fiercely as on 12/31/93.. i.e., the 12/31 Hood was a PUNISHING,
GRUELING, FIERCE Hood, whereas this 7/1 version is closer to a
Classical Music Composition. It has a texture and progression that,
though akin to many Hoods from the last two years, is in stark
contrast to the 12/31 version, because 12/31 was effectively more of a
rocknroll style of jam.  This jam segment is, again, like a beautiful
Movement in a Requiem.  The final jamming prior to the final Hood
verse is mesmerizing, as it usually is at this point.  This is SOUL
MUSIC (the 12/31 was not as soulfull, but definitely more Rockin').
The final "Feel Good about Hood" verse comes in at 14:02, and this
extraordinary Hood ends at 14:26.  Did I like this better than
12/31/93?  It was different.  Did I hate to hear Suzy, no matter how
great a version, after this Hood on 7/1/95?  DAMN STRAIGHT.
10/7/95 Spokane Opera House, Spokane, WA
God I loved this show (even though it wasn't all that long..).  Kinda
upbeat opening to this Hood... not quite as laid-back as usual, though
still reggae-ish, of course.  Some very eerie noodlin' and sustain
from Trey ... typically funky stuff from Page and Mike (Page comes in
with off-key chords, as usual).  Harry verse comes in MIGHTY QUICK,
after only about 1:22 or so.  A lot of the versions reviewed earlier
had this first verse beginning at least 30 seconds later, if not
several minutes later. Not an especially interesting opening, to be
certain.  The pre-ThankYou MrMinor segment, though, is very crisp and
pleasing, and quite dark, evil, and spooky immediately before the
ThankYous begin (consistent with versions of the last couple of years,
in general, but especially 1995).
Jam segment starts very early at about 5:05, with Trey very quietly
and melodiously noodlin.  This is honestly one of my favorite Hood
opening jam segments.  He just gets more quiet and more quiet until he
is completely unplugged at 6:30 or so.. at the show I could hear this
SOOOO clearly. Unfortunately, you have to turn the volume on the tapes
waaay up to hear Trey smoke.. because he really does jam fiercely
while unplugged.  He turns the volume up again after about 30 seconds,
and starts building in perhaps one of the most incredible builds I've
ever heard him lead (in Slave or elsewhere).  Even though this whole
thing was improv'ed, it might as well have been composed.  It is
absolutely astounding, in my opinion. This is just some of the most
spine-tingling noodling I've ever heard him do.  He does this
beautiful little off-key lick at just after 8 mins that fits perfectly
in with the rest of the ever so gently climbing groove.  Some asshole
yells freebird at 8:56 or so. Kill him.  Otherwise, this is the most
precious jam segment I've reviewed in this Concise History, and I mean
this with all due respect. Sure, it is the longest jam segment of
those I've reviewed, but I find this Climb, led by Trey, but with
absolutely flawless and perfect accompaniment from Mike Page and
Fish.  I encourage everyone who has a favorite Hood to listen to this
with headphones on.
Clearly, the opening segment wasn't that hot in light of other
versions, but I think this jam segment blows 4/18/92 and even 12/31/93
out of the water.  7/1/95 is spectacular, but since 10/7/95 doesn't
have a final verse, I find it MORE pleasing because it simply
continues to climb and climb and climb and build and build and build,
becoming ever-increasingly more harmonious and gorgeous all the while,
ending in a triumphant, all-hallowed, intense and glorious jam.  This
is likely my favorite Hood.  There is, indeed, no final Feel Good
about Hood verse (but I was singing it to myself at the show, nearly
in tears), but guess what:  to have uttered words or sung at this
point in this jam would be akin to the whistling jam ending of Reba,
which, frankly, at times I was EXTREMELY PLEASED they didn't do.
This ending is the loudest I have ever heard Hood get.  It ends kindof
like a Theme or a Day in the Life -- very ominous and loud and
crashing and sustained.  It is a version that leaves your mouth agape,
god damn it, unlike any other version you've probably ever heard.
Ends at 16:03, when Trey's sustain finally quits.  Get this version at
all costs, because it should blow you away.
Thanks Trey, Mike, Page and Jon!!!!!!!!!!
two cents

hits (many)